Pro Res File structures and Post paths

[Tom Gleeson]

I am seeing that the camera places the Pro res files in the same folder as its corresponding R3D file. I was hoping for simplicity that the Pro Res files would be in a separate folder. Is this an issue for post production or is it easy to extract the .mov files using FCPX, Avid or Premiere? Is there an easy way to extract the .mov files and have them sit in their own folder? I have yet to put the Weapon through a commercial shoot with dual record so uncertain what will be the best approach.

 

[Marc Wielage]

You could theoretically find all the .mov files in an OS search, then manually move or copy them to a separate ProRes folder. Just don't change the names of the files.

 

[Terry VerHaar]

You could probably even write a script to automate the process on OS X.

 

[Jarek Zabczynski]

While some people don't see the appeal in on-board prores, I can't wait to use it as I've been in many situations where a quick straight to prores capture is I need!

 

[Christoffer Glans]

While some people don't see the appeal in on-board prores, I can't wait to use it as I've been in many situations where a quick straight to prores capture is I need!

If people doesn't see the appeal of shooting offline ready to edit files at the same time as R3D, they haven't been involved with post production, primarily editing
This feature stands out from the Arri "shoot > edit", since you need to shoot at low quality final files in order to have a smooth editorial process. This makes you get full quality and editorial files at the same time, which is truly "shoot > edit".
There's no way in hell most people would edit R3D or 4K ProRes directly, especially for feature films. Closest to that would be Finchers workflow, but the magnitude of processing power they needed for editing Gone Girl is way out of most facilities and editors financial possibility.

 

[Jarek Zabczynski]

I am seeing that the camera places the Pro res files in the same folder as its corresponding R3D file. I was hoping for simplicity that the Pro Res files would be in a separate folder. Is this an issue for post production or is it easy to extract the .mov files using FCPX, Avid or Premiere? Is there an easy way to extract the .mov files and have them sit in their own folder? I have yet to put the Weapon through a commercial shoot with dual record so uncertain what will be the best approach.

Yeah, would be great to have an option on how we want the files placed. Two folders on the root directory of each mag would be ideal. r3d and prores.

 

[Brian Merlen]

If people doesn't see the appeal of shooting offline ready to edit files at the same time as R3D, they haven't been involved with post production, primarily editing
This feature stands out from the Arri "shoot > edit", since you need to shoot at low quality final files in order to have a smooth editorial process. This makes you get full quality and editorial files at the same time, which is truly "shoot > edit".
There's no way in hell most people would edit R3D or 4K ProRes directly, especially for feature films. Closest to that would be Finchers workflow, but the magnitude of processing power they needed for editing Gone Girl is way out of most facilities and editors financial possibility.

they don't have to settle for low res prores on Arri at all. They can use codex hardware just like i use rocket X to make prores from raw. Some of the new codex hardware can do this stuff at remarkable speed, relatively. Yes it costs money but so does my rocket X workflow. I have not used any of the codex stuff myself much but it looks really promising. I admit my Amira has a stupid prores limitation but my mini does not and if I get SXT someday it's to shoot raw on. Ps arguably my CF upgrade on weapon is as much as getting a codex vault system going for my arris so I like to think all the workflows provide options at a cost

pss I'd love the option for a secondary folder as well for dual recording. AEs will hate having to go folder by folder